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18 out of 20 people found the following comment useful :-
Out of this world, 30 March 2004

Author: paul2001sw-1 (paul2001sw@yahoo.co.uk) from Saffron Walden, UK

Eclectic English film-maker Michael Winterbottom has produced his finest work to date with 'In this World', a pseudo-documentary account of the attempted journey of two Afghani refugees to London. This film's outstanding achievement is the sense it conveys that despite the ubiquity of television, mobile phones and the English language, this is still a big, poor and very beautiful world. I can't praise the cinematography highly enough - almost every scene is stunningly composed, especially the nighttime crossing of the mountains (shot without the use of additional lighting), yet none feels contrived. Characterisation is minimal, but the viewer feels emotionally bound to the journey. As a rich westerner, I am used to hopping on a plane and flying wherever I wish, but Winterbottom nonetheless succeeds in making me appreciate the culture shock encountered for his protagonists in travelling merely from one side of Pakistan to another. Their journey, of course, is no sort of holiday.

Winterbottom steers clear of direct politics, but we see (along with great suffering) numerous examples of the small ways in which human beings can be nice to one another - the contrast with the xenophobic hatred of the Daily Mail is unspoken but clear. Who knows if the real-life Jamals of this world find happiness? But the message for us is that we forget our shared humanity at our peril.

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13 out of 15 people found the following comment useful :-
Moving, gritty, a brilliant docu-drama that should be seen, 9 May 2004

Author: philip-ct from Cape Town, South Africa

This film deserves a wide audience - and we are constantly reminded what or who is in this world, and what that entails. The story line is simple: two Afghan refugees, dispossessed in their land, struggling to survive (on 1 US $ a day, search for new life in a promised land - either the United Kingdom (London) or the USA.

We are all aware of the prejudice meted out to those of middle Eastern descent by the leaders of these 'first world countries'; we are also aware that war and the rampage of war leads to dog-eats-dog scenario.

Without preaching, the director takes us (through an involvement with the young leads, apparently not trained actors) through this world, moving from Afghanistan, to the East (Iran, Pakistan), and landing in Europe (Turkey, Italy, England).

What struck me throughout was the single-mindedness displayed by the younger actors, as they have to cope with a world at once alien and familiar to them.

There are moments of intense kindness by strangers, balanced by the manipulation of others who are motivated by greed and an unempathetic bureaucracy too.

Acting is naturalistic: there are some brilliant cameo shots - and Winterbottom has achieved a Herculean task; the film comes across as a real, hands-on documentary that is unscripted, and where events unfold before one's eyes.

Aided by voice-overs and a montage of black and white images, this has a feel of historic truth, a sense of actuality about it. I was moved by this film, totally.

It is a cry from the director's soul, and (unfortunately) won't reach the people it should. Refreshing, sensitive and an absolute must-see.

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12 out of 14 people found the following comment useful :-
A human document of urgency and commitment, 16 May 2004

Author: Howard Schumann from Vancouver, B.C.

Motivated by a news story about 58 Chinese immigrants found suffocated in a container at Dover, In This World by Michael Winterbottom is a passionate tribute to the nearly one million refugees a year who are willing to take enormous risks to seek a better life. Winner of the Golden Bear at the 2003 Berlin International Film Festival, the film follows two boys, Jamal, 16 (Jamal Udin Torabi) and his older cousin Enayat (Enayatullah) on a perilous overland journey from an Afghan refugee camp in Pakistan to seek economic security in the West. Shot in documentary style with a digital camera strapped to the back of cinematographer Marcel Zyskind, the film is fictional but is drawn from a true story and mirrors the desperate conditions of untold thousands whose faces we never see.

The boys are Pashtun who have grown up at the Shamshatoo refugee camp in Pakistan along with 53,000 other Afghanis, victims of the Russian-Afghan War or the American war against the Taliban. The politics of the refugees are not discussed and the film is basically a human story that crosses political and religious lines. Since Jamal speaks some English, Enayat's family asks him to go with him to London where he can apply for asylum as a refugee. From Peshawar, Jamal and Enayat travel by bus to Quetta and over the Iranian border to Taftan and by bus to Tehran. They do not have proper identification and must contend along the way with border guards, police, thieves, smugglers, and numerous changes in currency and language.

The boys bribe a customs officer with a Walkman but when ordered off a bus to Tehran, they meet a group of Kurds who offer them the hand of friendship. There is not much dialogue and the boys mostly improvise the funny stories and small talk as they endure days and weeks of waiting for their next ride. In a sequence of great beauty shot at nighttime using infrared photography, the Kurds help the two boys cross the icy mountains to Turkey, ducking the gunfire of armed soldiers at the Turkish border. Together with an Iranian and his wife and baby, they are then brutally forced to travel inside a shipping container for a 40-hour voyage from Turkey to Italy, a journey where only the strong survive.

In This World is not just a road movie but a human document of urgency and commitment that allows us to experience the humanity of the people some contemptuously refer to as "economic migrants" or "asylum seekers". While it is not a political statement, it is clearly as a slap at the recent hardening of European immigration policies. On a broader scale, however, the film can be seen as an apt metaphor for life. It tells us that the journey is exhilarating but fraught with unimagined obstacles at every turn, yet there are friends who are there for us along the way and, when we feel overwhelmed and hopeless, there is an aching beauty that fortifies us with the strength to keep going.

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9 out of 11 people found the following comment useful :-
A Desperate Journey, 1 October 2003

Author: nbott from Washington DC

At the conclusion, I sat stunned near tears. I am often impressed with films I am viewing but I rarely am left speechless. This film is one of those moments when film history is being written. I assumed all along that this was the telling of a true story because of its documentary style. But it is merely representative of the many such stories that happen every day in this cruel exploitative business of people smuggling.

This film makes it's point without being ponderous or preachy. I felt I was there with these beautiful unfortunate young men on the horrendous journey to escape their life of poverty in a refugee camp. This film maker should be given some type of international award for his courage in making this film about this subject matter. I never felt more appreciative of my apartment than I did last night when I got home.

Highly Recommended. 10 points.

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8 out of 11 people found the following comment useful :-
In search for the promised lands, 19 September 2003

Author: Semih from Seattle, WA

Those of us who live in so-called "western" and "civilized" cities always enjoy imagining the nostalgia of getting away from it all, owning a small hut in the mountains, living off of nature's gifts: veggies from the back yard, and meat from the farmhouse. Well, then there are those who live in those places that seem oh so nostalgic to us, and can't wait to get away from it all. They face the realities of rural life that so many of us day-dreamers tend not to include in our imaginings. And it also becomes hard for us to comprehend what is it about our stress-filled lives that these people want, that they would put their lives in danger and risk everything for entering another country and be part of that life. Then we realize the ignorant and arrogant lives we've been living: The luxury of taking survival for granted.

Films like "In this world" show us the journey taken in search for the promised lands. And we realize that the struggle for survival is common in every part of the world; it simply takes a different shape or form. The refugee's life becomes a story of adaption, rather than reaching a resolution. The idea of getting away from it all turns into realizing the lack of the void: that the frame of mind is what dictates what we want to get away from. Because it is so easy to find something to want to get away from, anywhere we live. Winterbottom's film captures these issues in almost documented reality of two brothers in search for the promised lands. It's almost as obvious of a reality right infront of us, as real and un-noticed as the image of the main titles super-imposed on a paint-peeling wall.

We see that we all are a refugee, running away from something, only to realize that we end up chasing a dream we will be running away from again later.

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5 out of 7 people found the following comment useful :-
Very endearing, 30 May 2004

Author: Tilly Gokbudak from Roanoke, Va.

"In This World" is yet another exceptional film from Michael Winterbottom, who seems to be one of the best directors from the UK these days. I really liked his film before this "24 Hour Party People" and once again he has done a masterful job of combining elements of documentary into a feature films. From the outset, it is pointed out that lots more 'muhla' went into bombing Afghanistan than providing refugees with any assistance. This was filmed in Pakistan, Iran, Turkey and parts of Western Europe. One of the more touching moments comes when the lead characters meet up with an Iranian (I presume ethnic Kurds) family as they enter Southeast Turkey from Iran. A very touching film. It is certainly more vivid an disturbing than most road movies, whether you are talking about "Stagecoach" or even "Thelma and Louise"- this is gripping stuff indeed, and a good companion to the recent Afghan film "Osama."

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5 out of 7 people found the following comment useful :-
Very powerful, serious film, 16 July 2003

Author: (savagemonkey@savagemonkey.org)

I don't want to try to explain the events in this film, or create an indepth synopsis. I'm not very good at that, and there are better places to find them (in fact, I think it's better to view it without knowing the plot).

What I do want to explain is how the concept is executed, and the effects it creates on the audience.

Though I said this is a serious film, I don't mean it's a film that can only be understood by the super-intelligent. This film is effective for everyone who cares to read into the situation.

At first, I thought this was a true documentary. The DV handheld camera and documentary feel is there all the way through the film, but at the start there was a quick voice over explaining a few things about the location. Also, bystanders were interacting with the camera.

However, as things progressed it's obvious to anyone that it's not a documentary, but in fact a very crafty piece of filmmaking. The beginning intends to fool you into the idea that this is a true, real life documentary, so as things hot up, you are more engaged. I was pondering this issue through the first fifth of the film, however, this wasn't a bad thing at all.

The settings in the film were breathtaking, so real and brutal. It was, in essence, a road movie. Our protagonists travelled around and stopped off at places, but as it was in documentary style, we seemed that little more part of the quest than you would in other road movies.

This may sound hypocritical, but because of the documentary style, we stay distant from our characters. We don't align with their emotions; instead we are voyeurs to the situation. Rather than feeling things from their point of view, we feel the situations as if we were there WITH them.

The visuals and editing in this film are also very important. In one scene, I was feeling very disoriented, and, almost sick, just like our on-screen characters. This was due to the lighting and editing, not shock or sickening imagery.

I saw this film in the cinema, but I expect many people will only be able to see this on TV or DVD because this isn't running the mainstream cinema circuit. However, unlike most movies, I think this will work well on all mediums because it's not a traditional film as it tries to pass itself off as a documentary. Maybe the scenes that really effected me physically won't work so well viewing them at home because it's unlikely you have the same A/V equipment, however everything else will be fine.

I agree with the previous review that this film is bleak, but despite this, it is very intriguing and you won't be able to look away once you get into it! You shouldn't leave the film feeling bored.

A FILM does not get much more real than this! I give it 8/10.

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1 out of 1 people found the following comment useful :-
Brilliant encapsulation of refugee journeys, 18 April 2008

Author: Robert_Woodward from United Kingdom

In This World charts the journey of two Afghan refugee brothers who leave their camp in Peshawar, Pakistan to seek a new life in London. The epic voyage of Jemal and Emayat is an archetypal refugee journey from East to West; in a film lasting just 90 minutes, director Michael Winterbottom weaves together a taut and powerful narrative, encapsulating the encounters and journeys-within-journeys that characterise refugee lives. Relatives of the two brothers give all they can to send them on their way; 'agents' of migration variously help and hinder their journey; policemen fleece them at the border crossings. From Peshawar to Sangatte (where would-be migrants to Britain crowd the French coast), the coherent and transfixing narrative brings together the names and places associated with countless refugee journeys.

On Jemal and Enayat's journey there are so many glimpses of the world around – some enlightening, others mysterious – that you could watch this film again and again and be fascinated by new details each time. The early stages of the journey reveal the stunning emptiness of Central Asian landscapes, with vast plains stretching out towards impossibly far-off mountains. The journey across Asia reveals some very different – and occasionally alarming – road usage, whilst the briefest of pauses in rural Iran captures a little of the traditions involved in welcoming and sending-off guests. Among the most striking asides in this film for me is the footage of a cow being slaughtered by the halal method; just a few eye-opening moments are afforded to this episode.

The film is, for all these fascinating glimpses, tightly woven around the story of Jemal and Enayat. The portrayal of their difficulties and sufferings is devastatingly powerful; the jerky, panic-stricken footage at the Turkish border and the dark and claustrophobic nightmare of the shipping container remain long and vivid in the memory. Although Winterbottom rarely lets the pace of the film slacken – indeed, he hardly has the option in such a wide-ranging and ambitious undertaking – snatches of conversation, bickering and camaraderie develop the two brothers' characters: they feel like real people. Jemal's humorous stories are particularly important in this regard, and, for me, the parodying of creation myths in these tales also suggests a much-warranted poking of fun at Western audiences, who often take a condescending interest in 'quaint' traditions.

Through the use of a voice-over in the early stages of the film and recurring resort to a map to help chart the brothers' journey, Winterbottom adds overtly documentary-style elements to his film. These elements seem to me to jar with the rest of the film; there is no real need to add them to an otherwise immersive and realistic picture. On the other hand, whilst the musical score by Dario Marianelli seems jarring to begin with, it soon becomes an essential part of the film: a theme to match an exhaustingly emotional experience as we watch the migrants on their journey.

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3 out of 5 people found the following comment useful :-
excellent, a very important film, 22 October 2003

Author: CharlesFckinWidmore from home

It's really impossible to describe how beautiful this film is.

I've been a fan of Michael Winterbotom since I saw Jude. I still remember how much some of his movies like Jude or I want you had affected me, but this time the great film-maker from England has exceeded my expectations. At times where racism is everywhere, Winterbottom dares to go to "other side" and make a film about the poor people from Afghanistan who suffered the most when Bush and his allies bombed their already very poor country. How these refugees go to Pakistan live in tents and everything they have to go through when they decide to search for a better life in one of the world's biggest cities like London. The things the 2 young people have to go through are presented in such a way that it makes you understand that these things REALLY happen. This film makes you aware of some of the most important problems in the world, such as inequality, poverty and even crime. It's not that we don't know about these things already, it's just that we tend to forget them.

Last year it was "Lilja 4ever" that made me more of aware of the problem of child prostitution and this year it was "In this World" who made me wonder if there is a way that I could help all these unfortunate people. Stories like "In this World" and Lilja 4ever" (which I recommend to anyone who believes this film is important and a must-see for everyone who wants to be called a human being) can really change the world and make us better people. And therefore they are very important.

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An anti-reality... both real and surreal in equal measures, 20 March 2008
Author: Graham Greene from United Kingdom

Over the last decade, Michael Winterbottom has emerged as perhaps the most intelligent and creative filmmaker working in Britain today. Unlike many of his contemporaries, he is unconcerned by the pressures of current cinematic trends and the importance of the Hollywood movie-system, and has instead crafted a series of visually distinctive and emotionally heartfelt films dealing with a range of subjects; from sexual jealousy, infertility, modern-day alienation, the American frontier and Manchester's vibrant post-punk music scene of the late 70's and early 80's. His best films have fused dreamlike imagery - often drawing on Bergman and Kieslowski as primary influences - with an almost-documentary-like sense of time, place and character. In This World (2002) takes that idea to new and unexplored levels, giving us a film that sets up an anti-reality that allows the film to drift in and out of the real and the surreal at any given opportunity to further establish the strained connection that the characters literally have with the world around them.

The sense of space seems lifted from the work of Iranian filmmakers like Samira Makhmalbaf (The Apple, Blackboards) with the idea of heightened reality coming from the employment of non-professional actors and the general cultural background of the characters. In the opening scenes, Winterbottom offers us an anachronistic narration to give the film a further sense of reality, whilst later scenes show townsfolk and children gazing with wonderment into the camera lens. This façade of the real, which is a fictional account based on fact, is so successful that whenever a character died on screen, the people who I viewed the film with questioned whether or not Winterbottom was creating some kind of art-house snuff. The actors are drawing on real experiences and it is this particular element that gives the film its unrivalled emotional control and unbelievable sense of tragedy, with lead actors Enayatullah and, in particular, the young Jamal Udin Torabi, both offering outstanding performances.

Winterbottom keeps the episodic narrative running smoothly, using the fallen innocence of Jamal as the catalyst for the film. He anchors this with the use of imagery also; hand-held digital video with jump cuts, slow motion, time-lapse, night-vision photography, and colour filters; all being used to create a dislocated atmosphere, in an attempt to make the character's surroundings both alien and threatening. It works, Winterbottom, along with his cinematographer Marcel Zyskind, create some of the most beautiful images of contemporary British cinema.

In this World is a film both moving and compassionate without ever feeling the need to rely on cloying sentiment or exposition-by-numbers. Winterbottom skilfully allows the film to unfold naturally, leaving it to the central performers to create a connection with the audience. It is so refreshing to see a contemporary British filmmaker shunning the influence of Hollywood and instead looking to filmmakers like the aforementioned Samira Makhmalbaf as well as Maryiam Parvin Almani and Abbas Kiarostami, as opposed to producing lush, period costume pictures of standard thrillers. Like the works of those individuals, this is important, intelligent, imaginative and above all else, serious film-making, which should be experienced by as many people as possible.

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